Further, that literary art does not always imply clearness and consequent economy of attention is evident when we reflect that the nature of emotion is to disturb the mind, and hence also the language expression. Incoherence, dimness, darkness, as qualities of æsthetic emotion, render literary art correspondingly broken and obscure. The weird, fantastic, and mysterious issues in style which is far from being easily intelligible. In the dreamy poetry of the Orient all is hazy and evanescent, and the mind strives in vain for clear impressions, yet here is the peculiar charm of style. Among Occidentals William Blake, with his childish incoherence, and Robert Browning, with his harsh abruptness, have a certain obscurity, but both are great stylists and great poets. Style then is at bottom something quite distinct from either ease or difficulty of apprehension. It is founded, not on apprehension at all, but on emotional receptiveness. Hence very active and intellectual natures seem ever debarred from really entering the realms of art, because they ever fail to appreciate that the function of art is not practical, or ethical, or scientific, or philosophic, but emotional. The man of business, of politics, of science, of thought, cannot give himself up without questioning to be thrilled and suffused by the unanalyzable charm of mere beauty. Such natures seem incapable of receiving, they must get and acquire, and so they miss all that art to which the only open sesame is a quiet inattention and a wise passiveness. The kingdom of art is not taken by violence, and the violent do not take it by mere intellectual force.